To Kill a Mockingbird

Auditions will be Monday January 14th 3pm-6pm

Auditions for DILL, SCOUT, and JEM will be Monday January 14th at 6pm in the blackbox. If you know someone who is interested, please show them the corresponding monologues below (Approximate Actor Ages: Jem 10-14 | Scout 7-11 | Dill 7-12 (but small)

All Comp students must perform at least one audition piece for a grade.

You may audition for up to three parts. No more than three.

Every character, with the exception of Atticus and Judge Taylor, have a southern dialect. How thick that dialect is depends on your interpretation of the character.

Please sign up for an audition time on the call board

We will review each of the audition pieces and how to best prepare for your audition.

If you are auditioning for the role of Atticus, you must do his monologue, as well as the "Atticus / Mayella" Scene. If you are auditioning for a grade, you only have to do his monologue.

CHARACTER DESCRIPTIONS

SCOUT: A young girl about to experience the events that will shape the rest of her life, she should, ideally, seem as young as nine. Scout is courageous and forthright. If a question occurs to her, she’ll ask it. Age is approximately 10-12.*

​JEM: He is a few years older than his sister Scout, and like his sister – perhaps even more than his sister – he’s reaching out to understand their unusual and thus not conventionally-admirable father. Probably the strongest undercurrent in Jem is his desire to communicate with his father. Age is approximately 10-14.*

ATTICUS: He’s tall, quietly impressive, reserved, civilized and nearly fifty. He wears glasses and because of the poor sight in his left eye, looks with his right eye when he wants to see something well. It’s typical of Atticus that when he found out he was an extraordinary shot with a rifle, he gave up shooting – because he considered it gave him an unfair advantage over the animals. He’s quietly courageous and without heroics, he does what he considers just. As someone comments about him – “we trust him to do right.” Age is approximately late 30’s-mid 50’s.*

​CALPURNIA: Black, proud and capable, she has raised the motherless Scout and Jem. She’s a self-educated woman and she’s made quite a good job of it. Her standards are high and her discipline as applied to Scout and Jem is uncompromising. Age is approximately 30-60*

DILL: Small, blond and wise beyond his years, he is about the same age as Jem. Dill is neater and better dressed than his friends. There’s an undercurrent of sophistication to him, but his laugh is sudden and happy. Obviously there is a lack in Dill’s own home life, and he senses something in Atticus that’s missing from his own family relationship. Age is approximately 10-13.*

​MAUDIE ATKINSON: Younger than Atticus, but of his generation, she’s a lovely sensitive woman. Though belonging to the time and place of this play, she has a wisdom and compassion that suggests the best instincts of the South of that period. Age is approximately 40-45.*

WALTER CUMMINGHAM: Cunningham is a hard-up farmer who shares the prejudices of this time and place but who is nevertheless a man who can be reached as a human being. He also has seeds of leadership, for when his attitude is changed during the confrontations with Atticus, he takes the others with him. Age is approximately 40-50.* (TO AUDITION FOR THIS ROLE, PLEASE PERFORM THE HECK TATE MONOLOGUE, BUT MAKE IT A SIMPLE DELIVERY)

REVEREND SYKES: Rev. Sykes is the black minister of the Flint Purchase Church, called that because it was paid for with the first money earned by the freed slaves. He’s an imposing man with a strong stage presence. He should have a strong “minister’s” voice. Age is approximately 50-60.*

HECK TATE: Heck is the town sheriff and a complex man. He does his duty as he sees it, and enforces the law without favor. The key to this man’s actual feelings is revealed in his final speeches to Atticus, and this attitude should be an undercurrent to his earlier actions. Age is approximately 40-50.*

STEPHANIE CRAWFORD: She’s a neighborhood gossip, and she enjoys it to the hilt. There’s an enthusiasm in her talking over the people of her town that makes it almost humorous. Sometimes she says things that are petty, but partly it’s because she simply can’t keep herself from stirring things up. Age is approximately 60-70.*

BOO RADLEY: Arthur Radley is a pale recluse who hasn’t been outside his house in fifteen years. It takes an extraordinary emergency to bring him out, and once out he’s uncertain about how to deal with people, and with his mission accomplished, he’s eager to return to his sanctuary. Age is approximately 40-45.*

MRS. DUBOSE: She is an old woman – ill, walking with difficulty, her pain making her biting, bitter, and angry. However, she’s fighting a secret battle within herself, a battle about which few people are aware, and her existence has in it a point of importance for Jem and Scout . Age is approximately 70-80.*

TOM ROBINSON: Robinson is black, handsome and vital, but with a left hand crippled by a childhood accident and held against his chest. He’s married to Helen and they have young children. He faces up to a false charge with quiet dignity. There’s an undercurrent in him of kindness, sensitivity and consideration. Age is approximately 25-35.

JUDGE TAYLOR: The judge is a wintry man of the South, who does what he can within the context of his time to see justice done in his court. While he tries to run his court impartially, his sympathy is with Tom. Age is approximately 60-70.*

MR. GILMER: He is a public prosecutor who is doing his job in trying to convict Tom. In many ways his manner is cruel and hurtful. And yet under all this, he too has unexpressed doubts as to Tom’s guilt, and his heart isn’t really in this conviction. Still – he goes after it, and it’s a hard thing. Age is approximately 30-50. (TO AUDITION FOR THIS ROLE, PLEASE PERFORM THE ATTICUS MONOLOGUE, BUT DELIVERY IT IN AN ARROGANT MANNER)

BOB EWELL: Ewell is a little bantam-cock of a man who lives with his large family by the town dump. As Harper Lee describes their situation – “The town gave them Christmas baskets, welfare money, and the back of their hand.” Bob thinks this trial will make him an important man, and when Atticus destroys his credibility, Bob’s rage and frustration border on paranoia. Age is approximately 40-50.* (TO AUDITION FOR THIS ROLE, PLEASE PERFORM THE HECK TATE MONOLOGUE, BUT DELIVER IT AS NASTY AS YOU CAN).

MAYELLA: The oldest daughter of Bob Ewell, she’s a desperately lonely and overworked young woman whose need for companionship – any companionship – has overwhelmed every other emotion. However, when her effort to reach out explodes in her face, she fights just as desperately for what she thinks is survival. Age is approximately 18-22.

EXTRAS: Townspeople, Farmers, church members, etc.

AUDITION PIECES

Atticus Finch

This is Atticus' final comments to the jury. There is overwhelming importance to what he is saying and he gravity of each of each his words is staggering. He is the epitome of honesty, composure, and integrity.

ATTICUS: (still at his table). Gentlemen, this case is not a difficult one, it requires no minute sifting of complicated facts. This case is as simple as black and white. (ATTICUS moves slowly to the front of the stage.) The State has not has not produced one iota of evidence that the crime Tom Robinson is charged with ever took place. It has relied instead upon the testimony of two witnesses- witnesses whose testimony has not only been called into serious questions on cross-examination, but has been flatly contradicted by the defendant. (ATTICUS looks back at MAYELLA.) I have nothing but pity in my heart for the chief witness for the state. But my pity does not extend to her putting a man's life at stake. And this is what she's done- done it in an effort to get rid of her guilt! I say guilt, because it was guilt that motivated her. She committed no crime, but she broke a rigid code of our society, a code so severe that whoever breaks it is hounded from our midst as unfit to live with. She's the victim of cruel poverty and ignorance, but she knew full well the enormity of her offense ans she persisted in it.

Calpurnia & Reverend Sykes (performed as a short duet scene)

Calpurnia and the Reverend are enjoying each other's company while discussing a very difficult subject.

CALPURNIA. Afternoon, Reverend SykesREVEREND SYKES. It's about Brother Tom Robinson's troubles. We have to do more for his wife and children.CALPURNIA. Yes, Reverend.REVEREND SYKES. These are dark days. Days of trials and tribulations. (The singing begins to swell again. MISS MAUDIE has come out to listen.)CALPURNIA. Yes, Reverend REVEREND SYKES. The collection for the next three Sundays will go to his wife.CALPURNIA. (nodding with the music). Yes.REVEREND SYKES. Please encourage everyone to bring what they can. Everyone!SCOUT. Why are you taking up a collection for Tom Robinson's wife?REVEREND SYKES. To tell the truth, Helen's finding it hard to get work these days.SCOUT. I know Tom Robinson's done something awful, but why won't folks hire Helen?REVEREND SYKES. Folks aren't anxious to-(He hesitates as he sees someone entering. Continuing, dropping his voice.)- to have anything to do with his family.

Mrs. Dubose

Mrs. Dubose is scolding the kids. Her body and ideas are twisted and disturbing. ​MRS. DUBOSE: Don't say 'hey' to me, you ugly girl! You say 'Good Afternoon, Mrs. Dubose.' You should be in a dress and camisole, young lady. If somebody doesn't change your ways, you'll grow up waiting on tables. A Finch waiting on tables at the O.K. Cafe- hah! A lovelier lady than your mother never lived. It's shocking the way Atticus Finch lets her children run wild. Not only a Finch waiting on tables, but one in the courthouse, lawing for niggers! What's the world come to with the Finches going against their raising? (Her parting shot.) Your father's no better than the trash he works for! He's a nigger lover! (With this SHE completes her exits, leaving SCOUT hurt and JEM stunned.)

Judge Taylor

The Judge reminds the characters that he is in charge of the courtroom. This is the last thing said before intermission. It should leave the audience shaken, but excited about what is to come in Act II​JUDGE TAYLOR: Quiet! There has been a request that this courtroom be cleared of spectators, or at least of women and children- a request that for the time being will be denied. People generally see what they look for, and hear what they listen for. And they have have the right to make whatever decisions they consider best for their children. You may feel there's something here to be learned. Or you may decide you do not wish to face this problem. It's up to you to make the decision. I suggest you do it right now. I'm interrupting this trial for a ten-minute recess.

Mayella & Atticus

Atticus is slowly chipping away at Mayella's story, leaving her to break at the end of the scene, and clinging to the only thing that can save her, the racism of her time.

ATTICUS: Is this the man who attacked you?MAYELLA: It most certainly is.ATTICUS: (hard). How?MAYELLA: (raging). I don't know how, but he did. I said it all happened so fast I - ATTICUS: Let's consider calmly. Miss Mayella, you've testified the defendant choked and beat you. You didn't say he sneaked up behind you and knocked you cold. Do you wish to reconsider any of your testimony?MAYELLA: You want me to say something that didn't happen?ATTICUS: No, ma'am, I want you to say something that did happen.MAYELLA: I already told ya. ATTICUS: He hit you? He blackened your right eye with his right fist?MAYELLA: (seeing the point). I ducked and it - it glanced. That's what it did. I ducked and it glanced off. ATTICUS: You're a strong girl. Why didn't you run?MAYELLA: Tried to -ATTICUS: And you were screaming all the time?MAYELLA: I certainly was. ATTICUS: Why didn't the other children hear you? Where were they? (MAYELLA makes no reply.) Why didn't your screams make them come running? (MAYELLA makes no reply.) Or didn't you scream until you saw your father in the window? You didn't scream till then, did you? (MAYELLA makes no reply.) Did you scream at your father instead of Tom Robinson? Is that it? (MAYELLA makes no reply.) Who beat you up? Tom Robinson or your father? (MAYELLA makes no reply.) Miss Mayella - what did your father really see in that window? (MAYELLA covers her mouth with her hands.) Why don't you tell the truth, child - didn't Bob Ewell beat you up? (With this, ATTICUS turns away, and lets out a breath. HE looks a little as though his stomach hurts. MAYELLA's face is a mixture of terror and fury.) MAYELLA: (gasping a quick breath and calling out). I - I got somethin' to say. (ATTICUS walks back and sits wearily at his table.)ATTICUS: (with compassion). Do you want to tell us what happened?MAYELLA: I got somethin' to say an' then I ain't gonna say no more. That nigger yonder took advantage of me an' if you fine fancy gentlemen don't wanta do nothin' about it then you're all yellow stinkin' cowards, stinkin' cowards, the lot of you. Your fancy airs don't come to nothin' - your ma'amin' and Miss Mayellarin' don't come to nothin', Mr Finch. (MAYELLA covers her face with her hands to hold back her sobs)

Ms. Maudie

Ms. Maudie is the narrator of the play. She cares about her community, its story, and most of all, Atticus and his family. Should be delivered with brilliant diction and an understanding of storytelling.

Miss Maudie (conceding). Even in 1935, Maycomb, Alabama is already an old town - a tired old town. In rainy weather the streets turn to red slop, grass grows on the sidewalks, the courthouse sags in the square. Old mules hitched to Hoover carts flies in the shade. There's no hurry because there's nowhere to go, nothing to buy, and no money to buy it with. Maycomb County had recently been told it had nothing to fear, but fear itself. According Miss Stephanie, everybody in Maycomb has a streak: a drinking streak, a gambling streak, a mean streak, a funny streak.

Tom​Although Tom is afraid, and deep down knows he doesn't stand a chance in the courtroom, he is fully aware that his testimony will be his only chance to tell everyone that he is not guilty. On the stand, he has a voice. He is petrified, but understands how important the delivery of his words will be. ​TOM. Mr. Finch, I was goin' home as usual that evenin', and when I passed the Ewell place, Miss Mayella were on the porch, like she said she were. It seemed real quiet like, an' I didn't quite know why. She called to me to come there and help her a minute. Well, I went inside the fence an' looked for some kindlin' to work on, but I didn't see none, and she says, 'Naw, I got somethin' for you to do in the house. Th' old door's off its hinges.' I said, 'You got a screwdriver, Miss Mayella?' She said she had. Well, I went up the steps and she motioned for me to come inside. (Taking a breath.) I went in an' looked at the door. I said, 'Miss Mayella, this door look all right.' Those hinges was all right. Then she shet the door. Mr. Finch, I was wonderin' why it was so quiet like, 'n' it come to me that there weren't a chile on the place, not one of 'em, an' I said, 'Miss Mayella, where the chillun?' (Tom pauses to run his hand over his face.)

Ms. Stephanie

Ms. Stephanie is the town gossip and seems to see the worst in the people she talks about. ​Miss Stephanie: (bursting to get into this. With a relish). When that boy was in his teens, he took up with some bad ones from Old Sarum-(Front.)-probably drinking stumphole whiskey. They were arrested on charges of disorderly conduct, disturbing the peace, and using abusive and profane language in the presence and hearing of a female. Boo Radley was released to his father, who shut him up in that house and he wasn't seen again for fifteen years. (Gives MAUDIE a brief look). Boo Radley was sitting in the living room cutting some items from The Maycomb Tribune to post in his scrapbook. As his father passed by, Boo drove the scissors into his parent's leg, pulled them out, wiped them on his pants and resumed his activities. Boo was then thirty-three. Mr. Radley said no Radley was going to any insane asylum. So he was kept home where he is till this day. (Snippily.) Or Miss Maudie would have seen him carried out.

Heck Tate

Heck, who is Atticus' only friend, tells him, at the very end of the play, that they are going to lie about the death of Bob Ewell to spare the life of his son.

I already told you what happened. This isn’t your decision, Mr. Finch, it’s all mine. It’s my decision and my responsibility. And there’s not much you can do about it. I never heard tell it’s against the law for a citizen to do his utmost to prevent a crime from being committed, which is exactly what Boo Radley did. Now maybe you’ll say it’s my duty to tell the town all about it and not hush it up. Know what’d happen then? All the ladies in Maycomb, including my wife, would be knocking on his door bringing angel food cakes. To my way of thinking, dragging him with his shy ways into the limelight – that’s a sin. (He starts L, then pauses .) I may not be much, Mr. Finch but I’m still sheriff of Maycomb County, and Bob Ewell fell on his knife. (Going.) Good night, sir.

Scout

SCOUT approaches a mob threatening her father ATTICUS. Not understanding the danger, she starts talking to a man she knows.

SCOUT: Mr. Cunningham – that you? (Coming closer.) Hey, Mr. Cunningham. (He doesn’t answer and SCOUT gets more confused.) Don’t you remember me? I’m Jean Louise Finch. You brought us a big bag of turnip greens, remember? (Struggles to be recognized.) I go to school with your boy, Walter. Well, he’s your boy, ain’t he? Ain’t he, sir? (The man makes a small nod in response.) Knew he was your boy. Maybe he told you about me – because I beat him up one time – but he was real nice about it. Tell Walter “hey” for me, won’t you? (There’s no reply. She tries harder to break through this baffling lack of response.) My father was telling me about your entailment. He said they’re bad. (The lack of response is getting more disturbing.) Atticus – I was just sayin’ to Mr. Cunningham that entailments are bad – but I remember you said not to worry – it takes long sometimes – but you’d all ride it out together. (She stops looking out at the silent men. She swallows.) What is it? Can’t any anybody tell me? (A plea.) Mr. Cunningham – what’s the matter?​

Jem

(JEM is SCOUT’s older brother. He is talking about Boo Radley—whom the kids think is a monster.)

JEM: (professionally.) Judging from his tracks, he’s about six and a half feet tall, he eats raw squirrels and any cats he can catch. What teeth he has are yellow and rotten. His eyes pop and most of the time he drools. If you want to get yourself killed, all you have to do is go up and knock on that door. I won’t do it. I ain’t scared, just respectful. (He get “dared” to do it and trapped.) You dare me? (He looks at the house apprehensively.) Lemme think a minute. ... Touch the house, that’s all? ... Don’t hurry me. (JEM speeds to the house stage left, slaps it with his palm and races back.) So there! (He looks back at the house.) Someone at the window! Look at the curtains! He was watching! He saw me! (To his sister Scout.) Did you get that chewing gum from that knothole in that tree?! Spit it out! Right now! Suppose Boo Radley put it there? Suppose it’s poison? You go gargle!

Dill

DILL breaks down in the courtroom after seeing how the prosecuting attorney disrespects Tom Robinson on the witness stand. He vents to SCOUT outside the courtroom.

DILL: (considering). I think I’m beginning to understand why Boo Radley stays shut up in that house – it’s because he wants to stay inside. Maybe he found out the way people can go outta their way to despise each other. (Almost a cry.) Why’d Mr. Gilmer have to do Tom Robinson that-away? Why’d he talk so hateful? But he didn’t have to sneer, and call him “boy”? Mr. Finch doesn’t. (exasperated). Don’t you realize yet – your father’s not a run-of-the-mill man. (cutting in with a snort). Whatta you care about most people? Maybe when you’re older – when you’ve seen more of the world – this town even! And that wasn’t a cryin’ fit. Just didn’t like the way Mr. Gilmer was treatin’ Tom.

Musical Theatre Vocal Piece

Audition Monologues (FOR VAPA DAY and COMP)

The Committee by Brian Dykstra (female role)

The arts committee. Their stupid, dumb-face arts committee happened. This corporate, racist, slime ball organization has an arts committee. An internal arts committee headed by MBAs who maybe took a couple drawing classes and thought they wanted to minor in art history or appreciation in undergraduate school at some second-rate state university in Southern California. It's made up of entry-level corporate lawyers who think the more committees they volunteer for, the better chance they'll have of surviving into the third year of their contract, when the real money kicks in. And they warned me. They did warn me about this arts committee.

Gap by Carol Lashof (male role)

It's not that I don't try to do my homework. I come straight home from school. I mean, what else would I do? I don't like "extracurricular activities" and I don't like "hanging out with guys" and I for sure don't have a girlfriend. So I come home. And I don't watch TV because TV is stupid. I just sit right down at the dining table and I take out my books and sharpen my pencils and I look at the list of things I have to do and I think, this isn't so bad, what's the big deal? And I think, today will be the day when I finish my homework on time, I'll even finish it before my parents get home, and they won't yell at me and I won't be stressed out, and after dinner I'll listen to some maybe John Coltrane or Santana and I'll go to bed at ten tomorrow.

Auditioners by Doug Rand (female role)O Romeo, Romeo-I am going to hurt you Romeo.I was looking forward to Uncle Capulet's party for months! And you said you were going to sneak in to that you could dance with me, if you can remember back that far. Back when you told me that I was the most beautiful girl in the world, and that your eyes were only for me, that you'd die without my smile. It feels like only yesterday you said these things. Oh, wait, that's because it was only yesterday, right before you suddenly decided that my loser cousin Juliet should get every last scrap of your attention.

Bugs by Tracey Letts (male role)

I got in some trouble ... with the Army. I was stationed at Sakaka ... the Syrian Desert, during the war. The doctors came in and really worked us over, with shots and pills, ostensibly for inoculation, but ... there was something else going on, too. A lot of the guys got sick, vomiting and diarrhea, migraines, blackouts. A couple guys went AWOL. I started having weird thoughts too and feeling ... sick. They starting running all these tests. They had every doctor you could imagine, probing at me, jabbing me, asking me all kinds of weird questions, feeding me more pills. Those doctors were experimenting on me.

Off the Map by Joan Ackermann (female role)

Oh God no. Charley! Not again, for Christ's sake. Charley! Come out of there! Come out! Now!! Enough! You can't sped another night in there! Charley! Look,you can lock yourself in the bedroom, you cal lock yourself in the chicken house, the pig house, the barn, the car, no not the car and not the outhouse, come out of the outhouse now!! Where do you expect Bo and me to pee! Where do you expect your daughter to pee! We've got a sick boy in the house burning up with a fever, a visitor, the least we should be able to offer him is a decent place to crap!! Now come out! you're being selfish, Charley, selfish, you're just sitting there, listening to me, just sitting there, being selfish and self-indulgent and self-pitying!! I God. (She lies down, flat on her back, crosses her arms over her face. ... Softer.) Charley. I can't take this much more. ​

Feather by Claudia Barnett (female role)​Ada grabbed my arm and said it wasn't safe, and I asked her if there was another way to walk. That was when we discovered we were lost. She looked down the road and back at me with a glance that looked like hate but could have been the way the moon caught her eyes, and said we needed to hurry. We walked in silence until we heard a car motor behind us, and Ada tensed again. The car stopped, and before the door even opened, Ada yelled "run". I looked back at the car and saw a man's silhouette emerge.

A Midsummer Night's Dream by William Shakespeare (female role)

Call you me fair? that fair again unsay.Demetrius loves your fair: O happy fair!Your eyes are lode-stars; and your tongue's sweet airMore tuneable than lark to shepherd's ear,When wheat is green, when hawthorn buds appear.Sickness is catching: O, were favour so,Yours would I catch, fair Hermia, ere I go;My ear should catch your voice, my eye your eye,My tongue should catch your tongue's sweet melody.Were the world mine, Demetrius being bated,The rest I'd give to be to you translated.O, teach me how you look, and with what artYou sway the motion of Demetrius' heart.

​Dottie by Staci Swedeen (female role)​Let me say right at the top that I'm essentially a good person. I know what you're thinking, that I'm self justifying, rationalizing, that any time someone does something as "sneaky and low down, as two faced" as what I've done, "of the D-A, there is no essential goodness" that's where you'd be wrong. That's why I gotta lay it out for you in all the particulars. You'll see that I acted purely out of love, even if I'm now forced to wear this here jumpsuit, unflattering in both style and color.

Red Roses by Lisa Soland (male role)

I don't want my jeans sent to the cleaners. Okay? I want them thrown into the washer then the dryer then folded and put into a regular drawer made out of strong, sturdy, wood. I don't care how much money you're making . I never did anything for the money. There was a time, a very happy time when we had none. I don't want pleats or this stuff. Do you hear me? I've put up with all these little stupid things, these things that somehow make you feel as though you're successful in life because I had the most important thing in life - you. I had you. Now that that's not mine anymore, DON'T PRESS MY JEANS!!!

Bite Me by Nina Mansfield (female role)

So there he is, stunned from the spray. Writhing on the ground like a baby. When WHAM! I hit him with my handbag, and ZANG, got him again with the pepper spray. At that point it was like pure adrenaline! I was on fire! Once I had him subdued I realized the emblem on my Tory Burch handbag is totally cross like, so I held it to his face, and sure enough he was like "Ahhh", and I was like "Take that you creature of the dark," and he was like, "Ahhh" and I was like "that's what you get for attacking women in alleys you scumbag vampire!" And I sprayed him with more pepper spray.

Blackbird by David Harrower (male role)

There was. For me there was. You were on my mind all the time. I couldn’t get you out. And I gave in. I gave in to it. And it. Everything. Every day was about how I could see you, talk to you. I left work early. I, I’d work on my car on the street. It didn’t need work. I took things apart, put them back together. Just to… The engine was perfect. But I’d… Because you’d be there and we could talk and it was fine. It was in the open and no one thought anything. Your parents. The kids that played there. But it, it wasn’t enough, it. I had to be alone with you. You remember the… the codes… the signals we had to… to meet. To just speak. Talk.

Curse of the Starving Class by Sam Shepard (male role)

Wesley: I was lying there on my back. I could smell the avocado blossoms. I could hear the coyotes. I could feel myself in my bed in my room in this house in this town in this state in this country. I could feel this country close like it was part of my bones. I could feel the presence of the people outside, at night, in the dark. Even sleeping people I could feel. Even sleeping animals. Dogs. Peacocks. Bulls. Even tractors sitting in the wetness, waiting for the sun to come up.

Jane Eyre by Christina Calvit based on the novel by Charlotte Bronte (female role)

Jane: I shall find some happiness here, I know... but there are moments when I cannot help but wonder what if...? Supposing I had chosen another path? I might be living now in France as Mr. Rochester's mistress- delirious half the time with his love- for he would- oh, yes, he would have loved me well! But what am I saying? And, more important, what am I feeling? Whether it is better, I ask, to be a slave in a fool's paradise at Marseilles- fevered with delusive bliss one hour- suffocating with both the tears of remorse and shame the next- or to be a village schoolmistress, reliant upon no man, here in the heart of England...?

Sylvia by A. R. Gurney (female role)

Kate:I am not prejudiced, Sylvia. When I was a girl, I read the Albert Payson Terhune dog books cover to cover. I watched Lassie on television. I’m a huge fan of One Hundred and One Dalmatians. When we lived in the suburbs, when the children were around, we had several dogs, and guess who ended up feeding the darn things. But I don’t want a dog now, Sylvia. That is the point. Our last child has gone off to college, and we have moved into town, and dog phase of my life is definitely over. I’ve gotten my Master’s degree, Sylvia, and I have a very challenging teaching job, and frankly I don’t want to worry about animals. So if you’ll excuse me, I will return to the daunting task of planning how to teach Shakespeare in the inner city junior high school.

Elephant by Margie Stokley (female role)

Michelle: Hi. My name is Michelle (SHE does a crazy gesture and noise that somehow mocks suicide.) Just kidding. No. Really-thrilled to be here. What do you want to know? What do you want me to say…. (Silence.) Oh, wait, that’s right. This is not a conversation – it’s a session. This is my time to share, with complete strangers how I feel…. Well, I feel like talking about trees. How do you feel about them? Wait. Please, don’t speak…let me. My fascination stems from this one tree. (SHE silently mouths “stems” again to emphasize the irony). Rough Crowed. (A Pause.) Well, it’s gigantic and right outside my bedroom window. Some nights I feel it wants in. Wants in to my perfect pink-and-white-striped room. ​

Auditoners by Doug Rand (male role)

Words are vibrations that somehow make sense, and if I could only string together the right words, what then would not be possible? If I could string together just the right combination of words, I could make someone laugh - not just a polite smile, but a great rolling spasm of laughter that shakes their body and opens wide their tear ducts and makes them howl with pure joy. To most people on the planet, people who don't happen to speak our language, these words would just be random sounds - but falling on your ears, your mind and your body would respond. With just the right combination, of words, I could make you question your most secret beliefs, or weep uncontrollably, or rededicate your life to a cause you never cared about before. If I could do that, if I could string together that perfect combination of words, and sounds and vibrations...could I make you love me again?"